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Alfred's Group Piano For Adults, Book 2 (Second Edition) E. L. Lancaster and Kenon D. Renfrow Curriculum Overview
Alfred's Group Piano For Adults, Book 2 (Second Edition) E. L. Lancaster and Kenon D. Renfrow Curriculum Overview
Curriculum Overview
The curriculum that follows is designed to serve only as a model. It will need to be
adapted to fit the curriculum of various schools and adjusted for individual classes
that are able to move faster or need to move slower. The curriculum is organized by
unit in the following manner:
1. Lesson Plans and assignments are provided for three days each week. Realizing
that some classes may only meet two days a week, the third day incorporates
activities that review or further reinforce the concepts presented during the first
two days of the week. Teachers who meet fewer than three days a week will
want to adapt the model curriculum.
2. The conceptual focus of each reading example is identified as an aid for the
teacher in planning appropriate activities to introduce and reinforce reading
activities.
3. Suggested exams are given following units 5, 10, 13, 18, 23 and 26. These may
be modified to fit individual programs.
Note: For classes that are unable to complete the entire book, teachers may consider
skipping the following units. Exam contents will need to be adapted.
Assignment
Assignment
1. Playing Major, Augmented, Minor and Diminished Chords (p. 10)
2. Playing Scales and Arpeggios, Key of C Harmonic Minor (p. 14)
3. Playing Triads of the Key, Harmonic Minor Keys (p. 15)
4. Altered Intervals, #9–16 (p. 17)
5. Gypsy Earrings (pp. 18–19)
6. Reading #2 (p. 20)
7. Harmonization #2 (p. 22)
8. Review Worksheet (pp. 23–24)
1. Review Playing Major, Augmented, Minor and Diminished Chords (p. 10).
2. Review Playing Scales and Arpeggios, Keys of C Major and C Harmonic Minor
(p. 14).
3. Review Playing Triads of the Key, Major Keys and Harmonic Minor Keys
(p. 15).
4. Review Gypsy Earrings (pp. 18–19).
5. Introduce Reading #3 (p. 21).
6. Introduce Harmonization #3 (p. 22).
7. Check Review Worksheet (pp. 23–24).
8. Spend any additional class time helping students with specific problems.
Assignment
1. Playing Major, Augmented, Minor and Diminished Chords (p. 10)
2. Playing Scales and Arpeggios, Keys of C Major and C Harmonic Minor (p. 14)
3. Playing Triads of the Key, Major Keys and Harmonic Minor Keys (p. 15)
4. Gypsy Earrings (pp. 18–19)
5. Reading #3 (p. 21)
6. Harmonization #3 (p. 22)
Reading Focus
• Page 20 #1: G major, parallel harmonic thirds in RH, single line in LH
• Page 20 #2: A minor, broken triads and inversions in RH
• Page 21 #3: F major, four-part chorale
1. Triads: First Inversion and Second Inversion, Triads: In All Positions and
Naming Triads and Inversions (p. 26)
2. Playing Triads and Inversions in Major Keys (p. 27)
3. Technique #1–2 (p. 28)
4. Playing Scales and Arpeggios, Key of G Major (p. 29)
5. Song Without Words (p. 30)
6. Reading #1 (p. 31)
7. Harmonization #1 (p. 32)
8. Improvisation from Chord Symbols (p. 34)
9. Ensemble Repertoire (pp. 38–39)
10. Choral Score Reading for 2-Part Voices (p. 36)
Assignment
Assignment
Lesson Plan
Assignment
1. Review Playing Major, Augmented, Minor and Diminished Chords (p. 67).
2. Review Playing Triads of the Key and Inversions (p. 67).
3. Review Exercise No. 1 (p. 68).
4. Introduce Playing Scales and Arpeggios, Key of E Harmonic Minor (p. 69).
5. Review Study (p. 70).
6. Introduce Reading #2 (p. 71).
7. Introduce Harmonization #2 (p. 73).
8. Review Harmonization with Two-Hand Accompaniment (p. 74).
9. Discuss correct answers for Review Worksheet (pp. 75–76).
10. Work on the individual student’s solo repertoire from this unit, previous units or
Supplementary Solo Repertoire section.
Assignment
1. Review Playing Major, Augmented, Minor and Diminished Chords (p. 67).
2. Review Playing Triads of the Key and Inversions (p. 67).
3. Review Exercise No. 1 (p. 68).
4. Review Playing Scales and Arpeggios, Keys of E Major and E Harmonic Minor
(p. 69).
5. Review Study (p. 70).
6. Introduce Reading #3 (p. 72).
7. Introduce Harmonization #3 (p. 73).
8. Review Harmonization with Two-Hand Accompaniment (p. 74).
9. Work on the individual student’s solo repertoire from this unit, previous units or
Supplementary Solo Repertoire section.
Assignment
Examination #1
The first examination should be administered individually to each student either
during the last class period of the week or during another scheduled exam time. The
exam should be announced in plenty of time to allow the student adequate
preparation time.
2. Playing Scales and Arpeggios: Keys of C Major and C Harmonic Minor (p. 14),
Keys of G Major and G Harmonic Minor (p. 29), Keys of D Major and D Harmonic
Minor (p. 44), Keys of A Major and A Harmonic Minor (p. 56), Keys of E Major
and E Harmonic Minor (p. 69)—2 octaves, hands separately
3. Playing the I-IV-I-V7-I Chord Progression in Major Keys (p. 53): Ask students
to play the chord progressions in two major keys.
4. Playing the i-iv-i-V7-i Chord Progression in Major Keys (p. 53): Ask students to
play the chord progression in two minor keys.
5. Harmonization with primary chords: Give the students 5–7 minutes to study
and harmonize an example of the teacher’s choice. Play using an appropriate
accompaniment style.
Assignment
Assignment
Assignment
• Page 78: G major, five-finger pattern in RH, broken chord accompaniment in LH,
ii chord
• Page 79: C major, iii chord, RH melody against LH interval accompaniment
• Page 80: F major, vi chord, four-part chorale, three-voice chords and inversions
in RH
Assignment
Assignment
Assignment
Reading Focus
Assignment
• Page 109 #1: G major, broken chord accompaniment in LH, V7/V chord, note
against note
• Page 109 #2: B-flat major, Alberti bass accompaniment in LH, note against note,
staccato and legato articulation, V7/V chord
• Page 110 #3: E-flat major, block chords in LH, V7/IV chord
Day 3
Lesson Plan
Reading Focus
• Page 122 #1: E-flat major, Alberti bass accompaniment in LH, note against note,
V7/ii chord
• Page 122 #2: F major, block chord accompaniment in LH, V7/iii chord
• Page 123 #3: D major, broken chord accompaniment in LH, V7/vi chord
Assignment
1. Playing Major Scales and Diatonic Seventh Chords of the Key (p. 134)
2. Playing Scales and Arpeggios, Key of A-flat Major (p. 136)
3. Minuet in G Major (p. 137)
4. Reading #1 (p. 140)
Day 2
Lesson Plan
Assignment
Day 3
Lesson Plan
1. Review Playing Major Scales and Diatonic Seventh Chords of the Key
(p. 134).
2. Review Playing Five Types of Seventh Chords (p. 135).
3. Review Technique (p. 135).
4. Review Playing Scales and Arpeggios, Keys of A-flat Major and G# Harmonic
Minor (p. 136).
5. Review Minuet in G Major (p. 137).
6. Review Exercise No. 2 (pp. 138–139).
7. Introduce Reading #3 (p. 141).
8. Introduce Harmonization #3 (p. 142).
9. Work on the individual student’s solo repertoire from this unit, previous units or
Supplementary Solo Repertoire section.
Assignment
1. Playing Major Scales and Diatonic Seventh Chords of the Key (p. 134)
2. Playing Five Types of Seventh Chords (p. 135)
3. Technique (p. 135)
4. Playing Scales and Arpeggios, Keys of A-flat Major and G# Harmonic Minor
(p. 136)
5. Minuet in G Major (p. 137)
6. Exercise No. 2 (pp. 138–139)
7. Reading #3 (p. 141)
8. Harmonization #3 (p. 142)
9. Individual Solo Repertoire
1. Individual Solo Repertoire: Students should play a repertoire piece of their choice.
Memorization should be optional.
2. Playing Scales and Arpeggios, 2 octaves, hands separately: Keys of F Major and
F Harmonic Minor (p. 81), Keys of B Major and B Harmonic Minor (p. 95), Keys of
G-flat Major and F# Harmonic Minor (p. 107), Keys of D-flat Major and C#
Harmonic Minor (p. 119), Keys of A-flat Major and G# Harmonic Minor (p. 136)
Ask the students to play scales and arpeggios in four different keys.
Assignment
Day 2
Lesson Plan
1. Introduce Playing Scales and Arpeggios, Keys of E-flat Major and E-flat
Harmonic Minor (p. 150).
2. Review Technique (p.151).
3. Review Playing Dominant Seventh Arpeggios (p. 151).
4. Review Over the Rainbow (pp. 152–153).
5. Introduce Harmonization with Two-Hand Accompaniment (p. 155).
6. Review Transposing Instrument: F Horn (p. 156).
7. Review Choral Score Reading for Soprano 1, Soprano 2 and Bass (SSB)
(p. 157).
8. Work on the individual student’s solo repertoire from this unit, previous units or
Supplementary Solo Repertoire section.
Assignment
1. Playing Scales and Arpeggios, Keys of E-flat Major and E-flat Harmonic Minor
(p. 150)
2. Technique (p.151)
3. Playing Dominant Seventh Arpeggios (p. 151)
4. Over the Rainbow (pp. 152–153)
5. Harmonization with Two-Hand Accompaniment (p. 155)
6. Transposing Instrument: F Horn (p. 156)
7. Choral Score Reading for Soprano 1, Soprano 2 and Bass (SSB)(p. 157)
8. Individual Solo Repertoire
• Page 146: F major, note against note, scale pattern in RH, Baroque style
• Page 147: C major, waltz bass accompaniment in LH, staccato and legato
articulation, Classical style
• Page 148: C major, single line melody RH, Romantic Style
• Page 149: G major, staccato and legato articulation, note against note,
Contemporary style
Assignment
Day 2
Lesson Plan
Assignment
1. Playing Scales and Arpeggios, Key of B-flat Harmonic Minor (p. 159)
2. Playing Dominant Seventh Arpeggios (p. 160)
3. Technique #3–4, 7 (p. 161)
4. Theme and Variations (pp. 162–163)
5. Reading #2 (p. 165)
6. Harmonization #2 (p. 166)
7. Choral Score Reading for 3-Part Mixed Voices (p. 168)
8. Vocal Accompaniment (p. 169)
9. Ensemble Repertoire (pp. 170–171)
10. Individual Solo Repertoire
Day 3
Lesson Plan
1. Review Playing Scales and Arpeggios, Keys of B-flat Major and B-flat Harmonic
Minor (p. 159).
2. Review Playing Dominant Seventh Arpeggios (p. 160).
3. Introduce Technique #5–6, 8 (p. 161).
4. Review Theme and Variations (pp. 162–163).
5. Review Transposing Instrument: F Horn (p. 167).
6. Introduce Score Reading and Transposing Instruments (p. 167).
7. Review Choral Score Reading for 3-Part Mixed Voices (p. 168).
8. Review Vocal Accompaniment (p. 169).
9. Review Ensemble Repertoire (pp. 170–171).
10. Work on the individual student’s solo repertoire from this unit, previous units or
Supplementary Solo Repertoire section.
Assignment
1. Playing Scales and Arpeggios, Keys of B-flat Major and B-flat Harmonic Minor
(p. 159)
2. Playing Dominant Seventh Arpeggios (p. 160)
3. Technique #5–6, 8 (p. 161)
4. Theme and Variations (pp. 162–163)
5. Transposing Instrument: F Horn (p. 167)
6. Score Reading and Transposing Instruments (p. 167)
7. Choral Score Reading for 3-Part Mixed Voices (p. 168)
8. Vocal Accompaniment (p. 169)
9. Ensemble Repertoire (pp. 170–171)
10. Individual Solo Repertoire
• Page 164 #1: C major, blues pattern with LH harmonic interval accompaniment
• Page 165 #2: G major, four-part chorale, three-voice chords and inversions
in RH
Assignment
1. Review Major Scale Review and Harmonic Minor Scale Review (p. 173).
2. Review Giga (pp. 174–175).
3. Introduce Reading #3 (p. 177).
4. Review Band Score (pp. 178–179).
5. Work on the individual student’s solo repertoire from this unit, previous units or
Supplementary Solo Repertoire section.
Assignment
1. Major Scale Review and Harmonic Minor Scale Review (p. 173)
2. Giga (pp. 174–175)
3. Reading #3 (p. 177)
4. Band Score (pp. 178–179)
5. Harmonization #2 (180)
6. Individual Solo Repertoire
Reading Focus
1. Individual Solo Repertoire: Students should play a repertoire piece of their choice
from Units 11–13 or Supplementary Solo Repertoire (pp. 345–377).
3. Playing Major and Harmonic Minor Scales and Arpeggios, 2 octaves, hands
separately (pp. 14, 29, 44, 56, 69, 81, 95, 107, 119, 136, 150, 159):
Ask students to play scales and arpeggios in four different keys.
5. Playing the I-V7/ii-ii-V7-I Chord Progression (p. 118): Ask students to play the
chord progression in two major keys.
Assignment
• Page 188 #1: E-flat major, single line melody over broken chord accompaniment
in LH, modulation to dominant
• Page 188 #2: C major, note against note, Classical style
• Page 189 #3: C major, note against note, staccato and legato articulation,
Classical style
Assignment
Day 2
Lesson Plan
Assignment
Assignment
• Page 199 #1: C major, single line melody with extended bass accompaniment in
LH, modulation to subdominant
• Page 199 #2: G major, note against note, Baroque style
• Page 200 #3: C major, staccato and legato articulation, block and broken chords
and inversions
Assignment
1. Practicing Major Scales (Group 3 Keys): B-flat, E-flat and A-flat (p. 206)
2. Playing Diminished Seventh Arpeggios (p. 207)
3. Minuet in D Minor (p. 208)
4. Reading #1 (p. 209)
5. Harmonization #1 (p. 210)
6. Duet Repertoire (pp. 212–213)
7. Improvisation from Chord Symbols #1 (p. 214)
8. Instrumental Accompaniment (p. 216)
Day 2
Lesson Plan
1. Introduce Practicing Major Arpeggios (Group 3 Keys): B-flat, E-flat and A-flat
(p. 206).
2. Review Playing Diminished Seventh Arpeggios (p. 207).
3. Review Minuet in D Minor (p. 208).
4. Introduce Reading #2 (p. 209).
5. Introduce Harmonization #2 (p. 211).
6. Review Duet Repertoire (pp. 212–213).
7. Introduce Improvisation from Chord Symbols #2 (p. 214).
8. Introduce Two-Part String Score (p. 215).
9. Introduce Instrumental Accompaniment (pp. 216–217).
10. Introduce Choral Score Reading for Alto, Tenor and Bass (ATB) (p. 218).
11. Work on the individual student’s solo repertoire from this unit, previous units or
Supplementary Solo Repertoire section.
Assignment
1. Practicing Major Arpeggios (Group 3 Keys): B-flat, E-flat and A-flat (p. 206)
2. Playing Diminished Seventh Arpeggios (p. 207)
3. Minuet in D Minor (p. 208)
4. Reading #2 (p. 209)
5. Harmonization #2 (p. 211)
6. Duet Repertoire (pp. 212–213)
7. Improvisation from Chord Symbols #2 (p. 214)
8. Two-Part String Score (p. 215)
9. Instrumental Accompaniment (pp. 216–217)
10. Choral Score Reading for Alto, Tenor and Bass (ATB) (p. 218)
Day 3
Lesson Plan
1. Review Practicing Major Scales and Arpeggios (Group 3 Keys): B-flat, E-flat
and A-flat (pp. 206–207).
2. Review Playing Diminished Seventh Arpeggios (p. 207).
3. Review Minuet in D Minor (p. 208).
4. Introduce Reading #3 (p. 210).
5. Introduce Harmonization #3 (p. 211).
6. Review Duet Repertoire (pp. 212–213).
7. Review Two-Part String Score (p. 215).
8. Introduce Instrumental Accompaniment (pp. 216–217).
9. Review Choral Score Reading for Alto, Tenor and Bass (ATB) (p. 218).
10. Work on the individual student’s solo repertoire from this unit, previous units or
Supplementary Solo Repertoire section.
Assignment
1. Practicing Major Scales and Arpeggios (Group 3 Keys): B-flat, E-flat and A-
flat (pp. 206–207)
2. Playing Diminished Seventh Arpeggios (p. 207)
3. Minuet in D Minor (p. 208)
4. Reading #3 (p. 210)
5. Harmonization #3 (p. 211)
6. Duet Repertoire (pp. 212–213)
7. Two-Part String Score (p. 215)
8. Instrumental Accompaniment (pp. 216–217)
9. Choral Score Reading for Alto, Tenor and Bass (ATB) (p. 218)
Assignment
Day 2
Lesson Plan
Assignment
Day 3
Lesson Plan
Assignment
• Page 222 #1: A major, staccato and legato articulation, note against note,
Classical style, secondary chords
• Page 222 #2: C major, broken chords in RH over ostinato bass in LH,
Classical style
• Page 223 #3: A minor, scale patterns in RH
1. Playing a Chord Progression That Modulates to the Relative Minor (p. 228)
2. Playing Diminished Seventh Arpeggios (p. 229)
3. Scherzo (pp. 230–231)
4. Technique #1–2, 7 (pp. 232–233)
5. Practicing Harmonic Minor Scales (Group 2 Keys): B and F (p. 233)
6. Reading #1 (p. 234)
7. Harmonization #1 (p. 236)
8. Improvisation from Chord Symbols #1 (p. 239)
9. Choral Score Reading for Soprano, Tenor and Bass (STB) (p. 240)
10. Ensemble Repertoire (pp. 241–243)
Assignment
1. Playing a Chord Progression That Modulates to the Relative Major (p. 228)
2. Playing Diminished Seventh Arpeggios (p. 229)
3. Playing Dominant Seventh Arpeggios (p. 229)
4. Scherzo (pp. 230–231)
5. Technique #3–4 (p. 232)
6. Practicing Minor Arpeggios (Group 2 Keys): B and F (p. 233)
7. Reading #2 (p. 234)
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8. Harmonization #2 (p. 236)
9. Harmonization with Two-Hand Accompaniment (p. 238)
10. Choral Score Reading for Soprano, Tenor and Bass (STB) (p. 240)
11. Ensemble Repertoire (pp. 241–243)
12. Three-Part String Score (p. 244)
13. Individual Solo Repertoire
Reading Focus
• Page 234 #1: B-flat major to G minor, single line melody over broken chord
accompaniment in LH, modulation to relative minor
• Page 234 #2: C major to A minor, scale pattern in RH, modulation to
relative minor
• Page 235 #3: A minor to C major, staccato and legato articulation, single line
melody over block chord accompaniment in LH, modulation to relative major
• Page 235, #4: E minor to G major, single line melody over block chord
accompaniment in LH, modulation to relative major
1. Individual Solo Repertoire: Students should play a repertoire piece of their choice
from Units 14–18 or Supplementary Solo Repertoire (pp. 345–377).
5. Playing a Chord Progression That Modulates to the Relative Minor (p. 228):
Ask students to play the chord progression in two major keys.
Day 1
Lesson Plan
Assignment
Assignment
Day 1
Lesson Plan
Assignment
1. Playing a Chord Progression That Modulates to the Relative Minor (p. 257)
2. Exercise No. 5 (pp. 258–259)
3. Practicing Major Scales (Group I Keys): C, G, D, A and E) (p. 260)
4. Seascape (p. 261)
5. Reading #1 (p. 262)
6. Harmonization #1 (p. 263)
7. Harmonization with Two-Hand Accompaniment (p. 264)
8. Review Worksheet (pp. 265–266)
Day 2
Lesson Plan
Assignment
• Page 262 #1: C major, five-finger patterns, note against note, staccato and
legato articulation
• Page 262 #2: G major, single line melody over Alberti bass accompaniment
in LH
1. Playing a Chord Progression That Uses a German Sixth Chord (p. 268)
2. Reading (p. 269)
3. Harmonization (p. 269)
4. Improvisation from Chord Symbols (p. 269)
5. Technique #1–2 (p. 272)
1. Playing a Chord Progression That Uses an Italian Sixth Chord (p. 270)
2. Reading (p. 271)
3. Harmonization (p. 271)
4. Improvisation from Chord Symbols (p. 271)
5. Technique #3 (p. 272)
6. Practicing Major Arpeggios (Group 2 Keys): F, B, G-flat (F#) and D-flat
(p. 273)
7. Playing Dominant Seventh Arpeggios (p. 274)
8. Solfeggio in C Minor (pp. 275–277)
9. Choral Score Reading for Soprano, Alto, Tenor and Bass (SATB) (p. 278)
10. String Quartet (p. 279)
11. Ensemble Repertoire (pp. 280–281)
12. Individual Solo Repertoire
1. Playing a Chord Progression That Uses a German Sixth Chord (p. 268)
2. Playing a Chord Progression That Uses an Italian Sixth Chord (p. 270)
3. Practicing Major Scales and Arpeggios (Group 2 Keys): F, B, G-flat (F#) and
D-flat (p. 273)
4. Playing Diminished Seventh Arpeggios (p. 274)
5. Playing Dominant Seventh Arpeggios (p. 274)
6. Solfeggio in C Minor (pp. 275–277)
7. String Quartet (p. 279)
8. Ensemble Repertoire (pp. 280–281)
9. Individual Solo Repertoire
Reading Focus
Assignment
1. Practicing Major Scales (Group 3 Keys): B-flat, E-flat and A-flat (p. 283)
2. Playing a Chord Progression That Uses a French Sixth Chord (p. 284)
3. Reading (p. 285)
4. Harmonization (p. 285)
5. Bagatelle in A Minor (p. 288)
6. Improvisation in Romantic Style (p. 289)
7. Harmonization with Two-Hand Accompaniment (p. 290)
8. Choral Score Reading for Soprano, Alto, Tenor and Bass (SATB) (p. 291)
1. Practicing Major Arpeggios (Group 3 Keys): B-flat, E-flat and A-flat (p. 283)
2. Playing Diminished Seventh Arpeggios (p. 283)
3. Playing a Chord Progression That Uses a Neapolitan Sixth Chord (p. 286)
4. Reading (p. 287)
5. Harmonization (p. 287)
6. Bagatelle in A Minor (p. 288)
7. Improvisation in Contemporary Style (Mixed Meter) (p. 289)
8. Harmonization with Two-Hand Accompaniment (p. 290)
9. Choral Score Reading for Soprano, Alto, Tenor and Bass (SATB) (p. 291)
10. Instrumental Accompaniment (p. 292)
11. Individual Solo Repertoire
1. Practicing Major Scales and Arpeggios (Group 3 Keys): B-flat, E-flat and
A-flat (p. 283)
2. Playing Diminished Seventh Arpeggios (p. 283)
3. Playing a Chord Progression That Uses a French Sixth Chord (p. 284)
4. Playing a Chord Progression That Uses a Neapolitan Sixth Chord (p. 286)
5. Harmonization with Two-Hand Accompaniment (p. 290)
6. Choral Score Reading for Soprano, Alto, Tenor and Bass (SATB) (p. 291)
7. Instrumental Accompaniment (p. 292)
8. Individual Solo Repertoire
1. Playing a Chord Progression That Uses a German Sixth Chord (p. 294)
2. Playing a Chord Progression That Uses an Italian Sixth Chord (p. 294)
3. Practicing Harmonic Minor Scales (Group 1 Keys): A, E, D, G and C (p. 295)
4. Playing Diminished Seventh Arpeggios (p. 295)
5. Exercise No. 7 (pp. 296–297)
6. Prelude in G Minor (p. 298)
7. Reading #1 (p. 299)
8. Harmonization #1 (p. 300)
9. Review Worksheet (pp. 301–302)
Assignment
1. Playing a Chord Progression That Uses a French Sixth Chord (p. 294)
2. Playing a Chord Progression That Uses a Neapolitan Sixth Chord (p. 294)
3. Practicing Harmonic Minor Arpeggios (Group 1 Keys): A, E, D, G and C
(p. 295)
4. Playing Diminished Seventh Arpeggios (p. 295)
5. Exercise No. 7 (pp. 296–297)
6. Prelude in G Minor (p. 299)
1. Playing a Chord Progression That Uses a German Sixth Chord (p. 294)
2. Playing a Chord Progression That Uses an Italian Sixth Chord (p. 294)
3. Playing a Chord Progression That Uses a French Sixth Chord (p. 294)
4. Playing a Chord Progression That Uses a Neapolitan Sixth Chord (p. 294)
5. Practicing Harmonic Minor Scales and Arpeggios (Group 1 Keys): A, E, D, G
and C (p. 295)
6. Playing Diminished Seventh Arpeggios (p. 295)
7. Exercise No. 7 (pp. 296–297)
8. Prelude in G Minor (p. 298)
9. Individual Solo Repertoire
1. Individual Solo Repertoire: Students should play a repertoire piece of their choice
from Units 19–23 or Supplementary Solo Repertoire (pp. 345–377).
4. Playing a Chord Progression That Uses a French Sixth Chord (p. 284):
Ask students to play the chord progression in two different major keys.
5. Playing Major Scales and Arpeggios (Groups 1–3) (pp. 260, 273, 283): Ask
students to play scales and arpeggios in two different major keys.
6. Playing Diminished 7th Arpeggios (pp. 207, 229, 249, 274): Ask students to play
diminished 7th arpeggios in two different keys.
Assignment
Assignment
Assignment
• Page 308, #1: C major, staccato and legato articulation, single note melody over
block chord accompaniment in LH, ii-V7-I chord progression
• Page 308, #2: C major, four-part chorale, ii-V7-I chord progression
• Page 309, #3: G major, chorale style
Day 1
Lesson Plan
Assignment
Reading Focus
No reading examples in this unit
Assignment
Assignment
Reading Focus
• Page 341 #1: G major, note against note, staccato and legato articulation,
Classical style
• Page 341 #2: D major, staccato and legato articulation, single note melody over
block chord accompaniment in LH, Classical style
1. Individual Solo Repertoire: Students should play a repertoire piece of their choice
from Units 24–26 or Supplementary Solo Repertoire (pp. 345–377).
4. Playing ii7-V7-I7 Chord Progression (p. 304): Ask students to play the chord
progression in two different major keys.
5. Playing Harmonic Minor Scales and Arpeggios (Groups 1–3) (pp. 295, 305,
340): Ask students to play scales and arpeggios in two different major keys.
6. Choral (p. 332) or Instrumental (p. 333) Score Reading (or other material of the
teacher’s choice): Students should prepare the example prior to the exam.